Today, a revamped master plan for the Smithsonian’s South Mall campus cleared one of the last remaining hurdles — approval by the Commission on Fine Arts. First released to the public four years ago, the original plan by Bjarke Ingels Group (BIG) and landscape architecture firm Surface Design, among other firms, was criticized for eliminating the beloved Enid A. Haupt Garden in favor of a more contemporary landscape. After years of refining the plan with significant public input, a revitalized garden, which is the legacy of the great philanthropist and horticulturalist Enid A. Haupt, is back at the centerpiece of the quadrangle framed by the Castle, Freer and Sackler Galleries, Ripley Educational Center, National Museum of African Art Museum (NMAAM), and the Arts & Industries building.
The updated master plan is smart: it proposes using a series of fully-accessible entrances to bring visitors down to a unified underground space that will seamlessly connect museums. This will also stop tourists and visitors from having to ascend and descend each time they want to visit a museum, going through security and checking bags over and over. The master plan will guide the 20-year-long $2 billion project.
Major updates made to the plan over the past four years:
The Castle acts a front door to the south mall campus, a portal into the more secluded quadrangle. According to Smithsonian Undersecretary Albert Horvath, more than 80 percent polled by the Smithsonian see the Castle as the central symbol of the museum and research system, so its enhancement as a hub is the first major project of the master plan.
BIG reduced the proposed excavation under the Castle by 50 percent, while still expanding the public space within the building and connecting it underground to the rest of the campus.
The 37-feet-tall Sackler and African Art Museum pavilions, which line Independence Avenue and hem in the south side of the quadrangle, will be removed in favor of smaller 26-foot glass pavilions at the north edge of the quadrangle. The pavilions were moved to the north end because “70 percent of the traffic” to the under-visited Sackler and NMAAM comes from the National Mall.
In a presentation to the CFA, BIG project manager Aran Coakley said: “the Sackler and National Museum of African Art lack a presence on the National Mall. Moving the pavilions, so they can be seen from the Mall, will elevate their visibility.” Despite the criticism about the contemporary peeled-up glass pavilions found in early proposals, they make a re-appearance here, but in a more subdued form.
The landscape is also poised for a major overhaul, but not for another decade. The Enid A. Haupt garden will be re-made because it rests on a green roof structure that needs to be rebuilt.
But perhaps more importantly, with the removal of the pavilions, the scale of the garden has changed and therefore the experience of the landscape needs to be re-considered.
As CFA Commissioner and landscape designer Liza Gilbert, ASLA, explained: “Everything has changed. The gardens are so much more open now with an expanded street presence.”
Furthermore, given new skylights will stream light deep into the museums from the edge of green roof that holds up the Haupt garden, there is a new design opportunity to “show how this all works. Visitors will be able to see the landscape layers, so it’s important to make them apparent.”
Gilbert called for a rigorous “landscape investigation” along the lines of what has occurred with the campuses’ structures, in order to turn the current plan’s “notional ideas” into a design that enhances the intimate scale of the gardens, improves resilience and sustainability, and illuminates how landscape architecture works.
Other elements of the plan: a new entrance for the Freer Gallery on the west side of the museum; an integrated underground circuit for trucks delivering and picking up art works; a revitalized Hirshhorn building and landscape and new design for a new sunken sculpture garden and subterranean exhibition spaces on the north side of Jefferson Avenue; clearer surface connections between all the buildings and museums and down to the new Eco-District that will line L’Enfant Plaza; redesigned connections between galleries underground and reconfigured spaces for artworks; a fully-restored Arts & Industries building; expanded events and educational spaces in the Arts & Industries building and Castle; and, lastly, an expanded Mary Livingston Ripley garden.
Next up for the Smithsonian: finalize the programmatic agreement, which concludes the Section 106 historic preservation consultation process, and discuss in one last public meeting. And in the early summer, take the final version of the master plan to the National Capital Planning Commission (NCPC) once more.
The work of landscape architect Steve Martino, FASLA, derives its interest and relevance from a simple notion: the desert landscape should be celebrated, not ignored. This notion is expertly manifested in the 21 gardens featured in the new book Desert Gardens of Steve Martino, edited by Caren Yglesias, Affil. ASLA, and photographed by Steve Gunther.
Gunther’s photographs give great insight into how a desert garden can not only be robust but even lush. It’s Martino’s brisk and charming introduction, however, that provides the book’s greatest insight into the catalogued projects.
Martino came to landscape by way of architecture, which he studied at Arizona State University in the 1960s. It was through this education that Martino says he experienced a set of epiphanies.
The first epiphany was that landscape was mostly eyewash. A client could spend tremendous amounts of money and achieve a sub-par result.
Another was: why weren’t all architects also landscape architects? It seemed irresponsible to leave the site design to someone else. Martino pursued this instinct, working for architectural firms on their site designs.
And, lastly — as for the native desert plants he was told to avoid using — Martino suspected they held more potential than expected.
This suspicion was confirmed by Ron Gass, a nursery-owner with an encyclopedic knowledge of native desert plants, whom Martino holds in great esteem. Martino, out of a job at one point during the 1970s, went to work at Gass’ nursery and learned as much as he could.
In the meantime, Martino marketed himself as a designer of “outdoor space,” a term many of the architects he interviewed with found unnerving. Much like the desert gardens Martino wished to promulgate, outdoor space seemed an oxymoron.
Martino persisted and received opportunities to expand the use of desert plants in his work, “connecting a project to the adjacent desert.” Their use did much more, Martino soon realized. They lent his projects an ecological intelligence and environmental stability that only proved more prescient in the following decades.
Martino’s work often juxtaposes desert vegetation with architectural structures, a relationship he describes as “weeds and walls.” One such example is the Palo Cristi garden, where the heavy influence of architect Luis Barragán, as requested by the garden’s owners, can be seen. The simple, clean lines of Martino’s walls frame and complement spindly, spiky plants that seem like colorful guests at a garden party. Sun is a design material that Martino deploys or limits in turn.
Martino often plays up the space demanded by desert vegetation — the effect is to put certain specimens on display. And sculptural works are used to reinforce the character of these plants. In the Baja Garden in Paradise Valley, Arizona, steel rebar evoking woody desert plants crowns a fireplace.
In other instances of Martino’s work, the hand of the designer is adroitly hidden behind a more naturalistic planting scheme. The Greene-Sterling Garden, also in Paradise Valley, Arizona, features desert trees that were allowed to grow to the ground, much the way they would grow in their natural habitat. This also did away with the need for understory plants.
When Martino started out, he had to argue for the incorporation of environmental intelligence such as this into his design work. The ensuing decades have proved Martino right.
A garden in any city is a special place. City Green: Public Gardens of New York, a new book by garden writer James Garmey, profiles some of the city’s most notable public gardens and green spaces. The pages are filled with photographs taken with the loving eye of Mick Hales, who captures well the serenity and beauty of large and small gardens alike.
Readers will know or have heard of several of the profiled spaces. The Cloisters in Fort Tryon Park, for example, maintains famously-enchanting gardens that sit at the heart of a medieval-style monastery in North Manhattan. Paley Park, too, has gained a reputation for the unique experience it provides. More a plaza than a traditional garden, Paley Park is perhaps the only place where one can find a waterfall tucked neatly between two midtown buildings.
Other gardens featured are less well known but worthy of inclusion. Carl Schurz Park on the Upper East Side sits in the shadow of Central Park, which is only eight blocks west. But its under-the-radar status adds to its charm. The park, originally the result of a Calvert Vaux design, languished during the 1970s. But it was revitalized through community engagement and renovated in 1992. The park now enjoys the dedicated attention of two full-time gardeners and a corps of volunteers. Garmey quotes a blogger when describing the Carl Schurz Park: “If this park was a guy, I’d be in love with him.”
At the southern tip of Roosevelt Island lies another under-the-radar garden. Franklin D. Roosevelt Four Freedoms Park features a minimalist memorial garden with views of a changing Queens skyline. The memorial, designed by architect Louis Kahn and landscape architect Harriet Pattison, is as monumental and stoic one would expect. Garmey describes the garden as powerful in its simplicity.
New York has several Japanese gardens, but the Noguchi Museum Garden in Long Island City, Queens, stands out for its sculptural works. The sculptor Isamu Noguchi designed not only the art works, but the park itself. The garden features several features of a traditional Japanese garden, included the generous use of gravel, but Garmey believes that it very much reflects Noguchi’s aesthetic: “meditative, playful, and filled with elegant shapes.”
Some of the featured gardens have successfully shed the conception of gardens as static creations. New York Botanical Garden’s native plant garden, for instance, is a site of tinkering and experimentation, according to its curator Michael Hagan.
“We have a mandate to monitor how plants respond to climate change,” Hagan says. He and his team treat the meadow as a work in progress and are comfortable adding and subtracting plants based on their projected sustainability.
Garmey understands that green spaces and gardens come in a variety of forms. Green-Wood Cemetery, which occupies 478 acres in Brooklyn, offers the seclusion and beauty of any other garden amid 570,000 graves. The cemetery is equally as interesting as a case study in infusing English landscape style into a burial ground.
And, according to Garmey, Green-Wood helped inspire Central Park. The cemetery is lush and sprawling and, for over a century, has provided a habitat for wildlife and native vegetation. These attributes, as well as its ornate statuary, have made Green-Wood a popular destination.
In a new exhibition featuring the nature-inspired art work of pop master Andy Warhol, the Marie Selby Botanical Gardens in Sarasota Bay, Florida, brings back the “flower power” of the 60s, but with a fresh take. Warhol: Flowers in the Factory gives visitors a new look at Warhol’s enduring fascination with nature through a display of paintings, archival photography, and a unique collection of plants.
According to the Botanical Gardens, Warhol made some 10,000 images of flowers over the course of his career.
Four of the artist’s most well-known silkscreens, simply named Flowers, are now on display and inspired a horticultural riff on his work.
The Gardens write: “Over the years the blooms recreated in the Flowers series have been misidentified as anemones, nasturtium, and pansies. They actually represent hibiscus.” Those hibiscus are found in the bright, fun flower installations seen in the photo at top.
Beyond the hibiscus, epiphytes like bromeliads and orchids, which are the primary focus on the Selby Botanical Gardens’ collection and conservation efforts, have been organized into repetitive patterns inspired by Warhol’s work.
The displays by the horticulturalists are meant to “emphasize the seriality and modular design of Warhol’s work. Like many landscape architects, Warhol was inspired by the repetition of shapes and bright pops of color.”
The Marie Selby Botanical Gardens is the only botanical garden in the world dedicated to the study of epiphytes, those beautiful, delicate, and strange plants that live in tree canopies and survive on air, rain, and debris.
Also, learn more about Selby’s new master plan developed by landscape architecture firm OLIN last year, which will expand the green space in the 15-acre gardens by 50 percent and create a new demonstration site for green roof technologies for the 200,000-plus visitors who come every year.
Kicking off a two-day planting symposium at the University of California at Berkeley, professor emeritus Marc Treib posed the question: Is there still a place for the “art of landscape design” in an age “dominated by the science of landscape ecology?” Planting design is often brushed aside as superfluous or unserious. British historian and critic Tim Richardson reminded the audience of the litany of unfavorable adjectives associated with artful planting: the bourgeois, the small-scale, the amateur, the hobbyist, the ephemeral, the female.
Nonetheless, Treib answered his own question with resounding affirmation. In organizing the symposium, Treib’s goal was to focus on planting and landscape design that surpasses function and landscape ecology alone and brings in beauty. Addressing the concerns of ecology in landscape architecture has become nearly (and arguably) required. Accordingly, all of the speakers’ designs, or the projects discussed, are sustainable “to a greater or lesser degree.”
But building from the constraints created by location and environmental conditions, how can aesthetics and art inform design? And what level of beauty can be attained? Given we are in an environmental crisis, Trieb audaciously questioned the “narrow ambition” of designs that solely address ecological function, and the idea “that good morals automatically yield good landscapes.”
Speakers from around the world also explained how planting aesthetics are tied to histories. For example, Laurie Olin, FASLA, professor of practice at the University of Pennsylvania, remarked: “In design, one is never truly free of earlier sense of form, particularly those found in nature. Everything you do refers to everything else, whether you mean it to or not.”
Speakers employed the vocabulary of plant selection and form to connect to cultural, natural, and formal histories, deepening the discussion on aesthetics. Below are highlights from the weekend:
Planting to Illuminate Cultural and Natural Histories
Kate Cullity, a founding director of Taylor Cullity Lethlean (TCL) in Adelaide, Australia, seeks to respect and illuminate cultural histories through her designs. These histories are brought to light through the selection and placement of plants. At the Uluru Aboriginal Cultural Center at Uluru-Kata Tjuta National Park, the design encourages the visitor to respect the Uluru’s culture and their right to the land (see image above).
Before the start of the project, Cullity relocated to the desert for one month, slowing down to learn the landscape and recording stories from the Aborginal people. In a rare rain event, she learned “how water moves in a dendritic way over the desert.”
Her time at the site influenced the ultimate design of the project: the cultural center was sited to give guests a meditative walk through the landscape before arriving. No change in grade was made across the entire site, as doing so would have altered the way water flowed, and consequently the growth of the existing plants. “Sometimes,” Cullity noted, “designing is not the answer. This was the answer here.”
In similar theme, others also referred to the importance of water, and lack thereof, as defining their planting habits. Mario Schjetnan, FASLA, an architect and landscape architect in Mexico City, discussed botanical geography, and the variations determined by “latitude and altitude.” He discussed designing in a subtropical climate and the importance of retaining stormwater.
Working primarily in the deserts of Arizona and Texas, Christy Ten Eyck, FASLA, is guided by the aesthetics of “Plant what will survive!” and “Own your own geography.” These tenents translate into: use native and drought-tolerant plants; pay attention to runoff and permeability; evoke the natural landscape features, such as arroyos; and look to where native tribes have found meaning in the landscape.
Landscape architects Thorbjörn Andersson of Stockholm, Sweden; Cristina Castel-Branco of Lisbon, Portugal; and Erik Dhont of Brussels, Belgium expressed the influence of their respective cultural histories in their planting practices. Andersson noted the poverty of the Swedish landscape as influential in his own career. His design of the Hyllie Plaza in Malmö, Sweden used one single species, the beech tree (Fagus sylvatica) to create a stylized beech forest. The tree’s architectural form, smooth silk trunk, the near-sterile understory: “It already looks designed in nature,” Andersson noted, adding, “plants become part of what signifies our culture.”
Dhont credits Belgium’s strong cultural heritage with defining his own body of work. “When you know heritage, it’s impressive to go in the footsteps of history.” He re-employs that heritage in his own work to new ends, such as using the topiary to guide and provoke encounters in a garden.
Castel-Branco, too, has merged the historic and the new in her own work. In a historic garden of exotic plants, she provokingly planted more exotic Sequoias after witnessing their success. She reminded the audience that the garden is an “eternal laboratory of adaptation,” which will grow in importance as the climate changes.
Planting as the Arbiter of Form
Other speakers focused on the formal abilities plants can offer a place. For Peter Walker, FASLA, his approach to planting has been a fifty-year journey to achieve what he experienced at the Parc de Sceaux, outside of Paris, France: the power of a landscape to instill a Gothic-cathedral sense of awe in the visitor. Walker has attempted to make architecture from plants, concentrating on the instant trees meet the ground on a flat surface. “I will not talk about a region or ecology—we’ve had enough of that,” Walker said.
Nonetheless, he admitted the relevance of place in his designs. In Japan, regarding subtle changes in the landscape is habitual, and his proposal to populate a landscape solely with a field of trees was easily accepted; in New York City, a similar design required thorough explanation to city stakeholders.
Echoing Walker, Andrea Cochran, FASLA, a landscape architect based in San Francisco, commented, “plants can shift how people think about environment. It’s about re-calibrating what is beauty.” Her landscapes, most notable for their edited, sculptural forms, nonetheless are determined by the California climate that lacks rain for six months of the year.
Richard Hindle, an assistant professor of landscape architecture at UC Berkeley, asked the audience to consider how plants and structures unite by examining vertical gardens, which bring together architectural and the garden-making approaches and allow for new paradigms, such as extending the anatomical and physiological possibilities of plants.
On a broader scale, Alexandre Chemetoff, a landscape architect and urbanist based in Gentilly, France, offered a similar point: “a tree is not an isolated subject,” and neither is landscape architecture. In his work that spans architecture, urban planning, and landscape architecture, he works with the three disciplines in tandem, the design of one informing the others. “This is quite different than the idea of having things separate, one from the other,” he explained, demonstrating the example of a thicket of trees that serve as a natural cooling system to a cocooned building.
This guest post is by Grace Mitchell, Student ASLA, Master’s of Landscape Architecture candidate, University of California at Berkeley.
For Darwina Neal, FASLA, the first woman president of the American Society of Landscape Architects (ASLA), it made perfect sense that the inaugural Cultural Landscapes lecture at the National Building Museum — a lecture series Neal sponsored and created — would feature a new documentary on Beatrix Farrand, the only woman to be among the 11 founding members of ASLA. The 40-minute documentary was created by six-time Emmy Award-winning film maker Karyl Evans.
Beatrix Farrand, who was born in 1872 and passed away in 1959, designed over 200 landscape commissions over 50 years. The film features her most celebrated works, including Dumbarton Oaks in Washington, D.C.; the Peggy Rockefeller Rose Garden at the New York Botanical Garden; and the Abby Aldrich Rockefeller Garden in Bar Harbor, Maine.
According to Neal, Evans deeply researched “Farrand’s life and work — as many of her gardens are being rediscovered and restored — and visited over 50 Farrand sites from Maine to California and Washington, D.C. to photograph the gardens and talk with curators, scholars, professional gardeners, and volunteers.”
Evans also “conducted research at the Beatrix Farrand archives at the University of California at Berkeley, where she discovered never-before-published materials now included in her film. The resulting documentary is an inspiring film about Beatrix Farrand’s challenging life and her stunning 50-year career as a landscape architect.”
Evans tells us this is the “first documentary ever created about the most successful female landscape architect in 20th century America.” It’s the story of “the daughter of one of American’s most elite families, and how her undeniable talent for garden design propels her onto the national stage.”
In the film, Evans interviewed the late Farrand scholar Diana Balmori, FASLA; landscape historian Judith Tankard; and landscape architect Shavaun Towers, FASLA.
In your book Therapeutic Landscapes: An Evidence-Based Approach to Design Healing Gardens and Restorative Outdoor Spaces, co-authored with Naomi Sachs, ASLA, you argue we’re returning to the wisdom of the ancient Greeks, who understood the healing power of nature and mind-body connection. Why has it taken so long to rediscover these essential understandings?
While the understanding was not entirely lost, the medical world needed proof. They were not interested in aesthetic arguments that gardens are “nice” and people appreciate “green views.” Those didn’t cut it.
The whole start of the healing gardens and therapeutic landscapes movements was Roger Ulrich’s famous study, The View from the Window, published in 1984 in the prestigious magazine Science. With access to medical records of people recovering from gall bladder surgery – some with a view to trees, some who could only see a brick wall – data showed that those with a view to trees called the nurse less often, asked for fewer high-dose pain killers, and went home a little sooner than those who viewed a wall. This study offered proof of the benefits of nature, using empirical data the medical world could understand and appreciate. Healthcare facilities took note and said, essentially: “Oh, I see. Trees outside windows and gardens around a hospital are not just cosmetic niceties, they can also affect the bottom line!”
There’s now an understanding that access to nature, sunlight, fresh air, and interactions with nature can reduce healthcare costs and patient recovery times. What has driven the explosive growth in therapeutic landscapes in hospitals and other care facilities? Has it been the financial benefits? Or are there other reasons?
There are certainly studies now that show if people have certain conditions and then have access to nature, they may call for fewer pain killers. That’s certainly significant. Studies of Alzheimer’s facilities where residents have access to a garden have shown that there is less need to prescribe drugs to reduce agitation or deal with insomnia.
Yes, the financial benefits have been important in encouraging the growth of therapeutic landscapes. But marketing is also important. It would be rare to find a senior retirement facility or hospice where a garden is not an attractive element, appealing to family members or to prospective staff.
Many hospitals are now providing gardens and that is good. However, in their marketing, some use the term “healing garden” as a buzz word. Sadly, in some cases I see in the trade magazines, there’s a photo of a chaise lounge on a roof with two potted plants, and it’s labeled a “ healing garden.” Some of us in the field are beginning to say perhaps there’s a need for a certification of healing gardens, although, just how that would work is very complicated.
There’s also been important recent research on the significance of access to outdoor space for the staff. Hospital staff work long shifts often under very stressful circumstances. Here’s a shocking number: more than a quarter of a million avoidable deaths occur in U.S. hospitals every year due to medical errors. This is just a speculative question, but could access to nature for hospital staff on their break times result in lowering stress and result in fewer medical errors? I doubt this could ever be proved as there are too many variables. But there is research where staff are saying, “Oh, yes, we want to have access to gardens.”
Hospital staff typically have window-less break rooms with no outdoor access. Also, did you know that the average lunch break for a nurse in an American hospital is just 38 minutes? So, even if there is a garden, and it’s at a distance, they’re not going to go there because they don’t have time. A trend now at hospitals who are aware of this is to put smaller gardens close to break rooms, so that staff can at least get outside for 10 or 15 minutes. That’s very important. Research has shown that is long enough for a significant reduction in levels of stress.
What are the key elements of a well-designed therapeutic landscape? What separates a great one from an OK one? Can you provide a few examples?
Oh – where to begin! It’s not rocket science, and some might argue its not vastly different from just a beautiful, well-designed garden. But there are many elements that are critical and are over-looked by even the most experienced landscape architects. First, it needs to be predominantly green; I would say about 70 percent green 30 percent hardscape. If it flips the other way, you’ve got a plaza; you don’t have a garden. The garden needs to be green, lush, and have all-season vegetation to the extent that it’s possible, depending on the location. It needs to be colorful and appeal to all the senses – smell, sound, touch, even taste – not just the visual.
The garden should serve the most vulnerable users. So, if this is, say, an acute care hospital, the most vulnerable users might be someone pulling an I.V. pole or using crutches. Pathway surfaces, non-glare elements, universal design – all are critical. A user may be someone who’s so weak they can only walk from the entry to the first bench. A person who is frail needs upright seating with arms and a back to help them get up – no slumped seating in the ubiquitous Adirondack chair!
A successful garden needs to be easily accessible and visible from a well-used interior space – foyer or waiting area in a hospital, day room or dining area in a senior facility. There should be a hierarchy of pathways for people to exercise who have varying degrees of energy. There must be adequate shade in an entry patio or under trees or a shade structure — an obvious thing but often overlooked. A lot of people are on medications — chemo, HIV-AID medication, psychiatric drugs — where they have to stay out of the sun. If there’s no shade, people aren’t going to go out there. We are seeing more and more patient-specific gardens – for those with cancer, PTSD, dementia, mental health problems, children with disabilities. In those cases it is critical that the designer works with the clinical staff and the maintenance staff in a participatory process.
So what separates a great one from a merely decent one? If the garden just had some greenery, paths, and a few benches, it wouldn’t be really therapeutic. Here are a few very good examples, in no particular order:
The Olson Family Garden at St. Louis Children’s Hospital is an 8,000-square-foot roof garden on the eighth floor. It has lush plantings, fairly large trees, and winding paths where children love to run, disappear, and appear again. There are five different water features. It has elements that intrigue children without turning it into a playground: stepping stones across water, telescopes so you can look out over St. Louis, cubby windows, a kaleidoscope, a sundial. It also appeals to adults and care givers with many semi-private places and a variety of moveable seating. It’s used by everybody and is well publicized within the hospital. The garden was designed by Herb Schaal, FASLA, with AECOM. It cost $1.9 million and was paid for by a local philanthropic family, who also gave an endowment for maintenance, so it always looks beautiful.
Another great example is the garden of the Oregon Burn Unit in Portland, Oregon, designed by landscape architect Brian Bainnson, ASLA, Quatrefoil. The reason this one works so well is Bainnson worked closely with the clinical staff at the Burn Unit to find out what patients and staff would need outdoors. He incorporated lush, beautiful, all-season planting.
A third example is the Living Garden at The Family Life Center in Grand Rapids, Michigan, an Alzheimer’s care center designed by landscape architect Martha Tyson, ASLA, who understood the literature on Alzheimer’s and dementia. She worked with the staff. The garden completely recognizes the main issue of these patients, which is lack of spatial cognition. I has a simple figure-eight path with destination points, so patients can’t get lost. There’s one exit and entry to the garden. No plants are toxic.
In Japan and South Korea, there are efforts to expand the use of forest bathing to improve health and well-being and also to fight addiction to new technologies. South Korea is creating a network of national forest healing centers. What do you see as the value of forest bathing? What will it take for this practice to take off in the U.S.?
The evidence from research in Japan is that breathing the air in these forests, particularly those of Hinoki cypress, lowers stress levels, blood pressure, and pulse rates. I think it has definite value, but we also know that walking in any kind of forest or non-urban green area has positive effects on health.
We’re really at a stage of infancy in this work in the U.S., but I do see a lot of media attention.
It’s funny, but the U.S. is often at the forefront with technological innovations, but rarely with social innovations – at least involving nature and play environments. Forest kindergartens have been popular in Germany and Denmark for decades; they are just catching on here. Adventure playgrounds have been around in western Europe since the 1940s; there have never been more than two or three in the U.S. (one is in Berkeley!). The Netherlands spearheaded the notion of the woonerf , or a street shared equally by vehicles and pedestrians; the idea spread across the developed world. But hardly at all in this country, largely, I would guess, because of resistance from transportation engineers.
However, in the realm of healing gardens in healthcare, the U.S. is at the forefront. It’s sad to see that in my own country of origin – Britain – famous for its gardens, those within hospitals are often poor or non-existent.
In a recent study, the Nature Conservancy estimates that, despite all the high-profile tree-planting campaigns, Americans city currently lose around 4 million trees a year. But just planting more trees in cities could reduce healthcare costs by decreasing the impact of air pollution, namely ozone and particulate matter. Other studies have found correlations between lifespan, sense of well-being, and proximity to trees. Unfortunately, however, even most arborists aren’t familiar with many of the health benefits of trees. Why aren’t the health benefits more widely understood?
Yes – there is a lot of valid research linking trees and health. Like so much material in this field of health and design, the studies produced in academic or semi-academic journals don’t filter out to people in practice. This is why it isn’t well-understood by people out in the field running tree planting programs in cities. I would not expect the people pruning trees in the street to know this. But the people in charge of trees for the city should.
There just needs to be more coverage of this information transferred from academic writing into more popular writing and hence the need for journalists and new messengers rather than new messages.
Some innovative doctors are now prescribing time in the park for a variety of conditions, testing to see if exposure to nature or a particular exercise in nature helps. What will it take for the mainstream medical profession to buy into this approach? What will it take for parks to be considered an essential part of our healthcare system by healthcare providers and insurers?
I see more and more references to the idea of providing prescriptions for people to go to parks. I believe in Washington, D.C. doctors can be provided with a list of available parks, so they can give those to their patients. For it to catch on, it will take a while, as with forest bathing and these other innovative things. It’s going to be some time before there’s research to show to the medical profession — proof that prescribing time in the park for someone with condition X improves that condition. But parks and their links to health have long been part of the landscape architecture profession going back to Olmsted.
Some hospitals being built or rebuilt are not only putting therapeutic gardens within the hospital confines but also putting a park or garden at the entry that is open to the general public. They’re providing green space for the city as a whole within their site.
Some examples include University Hospitals’ Schneider Healing Garden, Cleveland, Ohio; and Good Samaritan Medical Center’s Stenzel Healing Garden in Portland, Oregon.
Some re-built hospitals are specifically orienting patient rooms towards an adjacent park. These include The Royal Children’s Hospital in Melbourne, Australia, and Alder Hey Children’s Hospital in Liverpool, England.
This will continue as more hospitals recognize how important access to greenery is. Providing green space within the hospital or adjacent is relatively inexpensive compared with the cost of a new MRI machine.
Lastly, to recover from your own serious illness, you immersed yourself in nature for six months in the remote Scottish island Iona and then you wrote a book about it. You said nature there mirrored your soul and had a profound healing effect. Can you talk about that experience? How can we find those magical places? And how do you know you’ve found yours?
I found mine by serendipity and intuition. I don’t think you can go out and search for such a place or know that it has certain characteristics. When you find this place, it’s probably not your home, probably somewhere you found by chance. It may be somewhere a little different, a little distant, maybe a place you go now on weekends or maybe once a year.
In the mid-80s, I went to live with my children at Findhorn, an innovative, intentional community in Scotland from the 60s that still exists and flourishes today. They own a retreat house on the island of Iona on the other side of Scotland, and, once I had been there, I knew that the island was my healing place.
After two diagnoses of cancer shortly after retirement from academia, I went on retreat and lived alone there for six months and began to write. I now go back every year and have done so for 18 consecutive years.
All I can say is, when you find such a place, it feels as though you have come home. Not home as in a house. Home as something much deeper on a spiritual, psychological level, a place that resonates with something deep inside you.
I’ve met people who’ve come to Iona for the first time and stepping ashore they find themselves in tears. For other people, it feels like they have at last come home, yet they have absolutely no familial roots with Scotland or Britain. There is no logical reason; its not an issue of logic or reason. It occurs to numbers of visitors to this island, but that doesn’t mean to say you have to go to this particular place. You might find your place through a dream, or coming by chance across a mention in a book, or some other unexpected event.
Follow your heart; it knows. No one can give you a formula.
What does it mean to be a master of the contemporary Japanese garden design? To answer this, once must consider what constitutes a Japanese garden. The first images that come to mind might be of bamboo, or perhaps coy fish, or raked patterns in gravel. Japanese gardens are more than their components, though; they are a set of principles. And because principles should be transferable, it is possible for Japanese gardens to manifest themselves in very un-Japanese ways.
As Brown notes, Japanese gardens nowadays are less microcosms of Japan than they are “Japanese-inspired microcosms of nature.” Hence the flourishing of Japanese gardens outside of Japan, to the extent that they outnumber those inside Japan.
There is of course a fraught social history of Japanese gardens in the West, one that Brown fully recognizes. Taken out of their regional and historical context beginning in the late 19th-century, Japanese gardens became curios and projections of status and sophistication (the irony being that constructing a Japanese garden can, at least now, be in questionable taste).
To suggest one has mastered the art of Japanese gardens is to therefore suggest mastery of the art’s principles, as well the ability to reapply those principles without creating, as Brown puts it, a “garish pastiche.”
Perhaps none of the designers featured in the book more deftly graft the Japanese style into the North American context than David Slawson. Born in Ohio, Slawson spent a number of years in Japan studying the art of garden design before returning to the mid-West and applying his knowledge on college campuses and residences.
In recounting the story of his time spent in Japan, Slawson speaks reverently of power: the power of the dry landscape at Daisen-in, the power of rocks “disposed in space” at Ryoanji. These gardens moved him, and his designs seek to reproduce that impact.
At the Hoeschler residence in Minnesota, Slawson evoked Lake Superior’s north shore with a formidable river of stones.
Power can overwhelm, however, and this dramatic garden left the rest of the yard feeling weak. So Slawson complemented the initial design with an equally adamant garden entrance, replete with boulders that call to mind a north shore gorge.
Shin Abe, another of the book’s featured designers, has at times demonstrated a tremendous capacity to abstract the natural world. He pushes this traditional Japanese technique to its extreme at the Education First office building in Cambridge, Massachusetts. At the building’s entrance, slabs of stone suggesting frozen waves emerge from “dry” pools, geometric patterns filled with blackish aggregate and gravel. Low-sitting granite rectangles serve as benches, and the whole design gives the sense of water represented through rock.
Several of the book’s featured designers evoke Japanese landscape painting in their work. Marc Peter Keane’s Tiger Glen Garden, which refers to a work titled The Three Laughers of Tiger Ravine, possesses what Brown describes as a “gentle intensity.” A miniature stone ravine, patterned like a roman road, winds through the tiny courtyard garden, a rocky gash amidst moss and an elegantly-branching Tanyosho pine.
For all the talk of adapting the Japanese style to North America, many of the book’s gardens are still loaded with features some might consider cliché: Sand raked just so, a smattering of Buddhist paraphernalia, the unmistakable preference for Ponderosa pine. And then there are the lanterns. Modest, often camouflaged, they beg not to be considered kitsch.
And maybe they shouldn’t be. Maybe there is something we still don’t understand about our attraction to Japanese-style gardens, and how we can’t seem to adopt the principles without indulging in a bit of the exoticism that Japanese culture represents to the West. And maybe a little indulgence is good now and then.
The book, written with Douglas Brenner, begins with Hoerr’s first residential project, a garden in Lake Forest, Illinois, a suburb north of Chicago.
And then moves to bustling plazas and civic spaces, like the Michigan Avenue streetscape in Chicago, recipient of the 2016 ASLA Landmark Award, which is given to projects of longevity that have maintained their design integrity and contributed to the public realm.
In 1991, then-Chicago Mayor Richard Daley tapped Hoerr and Gordon Segal, founder of Crate & Barrel, to redesign the landscape of Michigan Avenue, a hotspot for tourism amid Chicago’s towering skyline. Hoerr’s goal was to “make the horticulture so bold that it looked ready to jump out of the planters and compete with any skyscraper.”
Schaudt also renovated Daley Plaza, a much-loved iconic square in Chicago. Designed by Jacques Brownson in 1965, Schaudt called the Modernist space “‘the Italian piazza of Chicago.'”
Schaudt sought to “replace the thin stone pavers with more durable lookalikes, double the tree court without changing the number or location of planters, and leave the plaza’s landmark character intact.”
A charming moment is documented in the book: “After Daley Plaza reopened, a Chicago architect confided, ‘This looks great, Peter, but I can’t figure out what you did.’ Schaudt took the comment as the highest compliment to his craft.”
It’s these bits of personal context that make Movement and Meaning compelling.
The book offers insight into design challenges and decisions, explaining the unique circumstances under which each project came to be.
Take the Greater Des Monies Botanical Garden. Brenner explains that since its heyday in 1979, the site around the garden fell into disrepair. Visitors struggled to find comfort in the landscape surrounded by an interstate and a double-lane parkway. After joining a design committee in 2004, Hoerr concluded the design should be based on water and sought to bring the river to the botanical dome.
In the Dwarf Conifer Garden, another Midwest plant-focused space, the studio increased accessibility and conducted a “plant-by-plant assessment of the two-decade-old garden.”